Mary Stuart

jump to:

Overview

By Gaetano Donizetti

HISTORIC CONFRONTATION WITH SEARING EMOTIONS. Two icons of British royalty, Queen Elizabeth I and Mary, Queen of Scots, clash in a powerful story of jealousy, pity, doubt, menace, exaltation, and remorse. Extravagant period costumes and virtuosic bel canto singing heighten the many moods of this haunting, unforgettable battle of wills. Does Elizabeth retain her nobility and show clemency to her rival? Or will spite and ambition drive her to seal Mary’s grisly fate? Join us at the palace and see!

Share with your friends on:

Synopsis

England, 1587

ACT I

Westminster Palace.Queen Elizabeth I is toying with a marriage proposal from a French prince when her court asks what she intends to do about her cousin Mary Stuart, former Queen of France and then of Scotland, who has been condemned to death for conspiring against Elizabeth. Talbot, who hosted Mary Stuart during the first part of her long house arrest in England, encourages Elizabeth to be lenient, but Elizabeth’s trusted advisor Cecil fears that Mary is a threat to Elizabeth’s throne. Talbot then asks Leicester, Elizabeth’s favorite, to intercede on behalf of Mary, whom Talbot and Leicester both love. In the duet “Era d’amor l’immagine,” Leicester begs Elizabeth to meet Mary face to face. Reluctantly, she agrees.

Fotheringhay Castle.Accompanied by her attendant, Hannah, Mary enjoys the park of the castle where she is imprisoned and recalls her happy childhood in France (aria: “O nube che lieve”). Leicester informs Mary that Queen Elizabeth has agreed to visit her, and warns her to be humble and submissive before her cousin. Using the royal hunt as an excuse, Elizabeth appears; all are nervous (sextet: “È sempre la stessa”). Although Mary begs Elizabeth to have mercy on her, Elizabeth goads and provokes Mary, who eventually explodes, calling Elizabeth illegitimate to her face.

ACT II

Westminster.Cecil urges Elizabeth to sign Mary’s death sentence, claiming that so long as Mary lives, Elizabeth will never be safe from attempted coups. But Elizabeth is not ready to shed royal blood. Leicester’s support for Mary tips the scales: Elizabeth signs Mary’s death sentence and commands Leicester to prove his loyalty by seeing that the execution is carried out.

Fotheringhay Castle.Cecil informs Mary that she will be executed the next day; she refuses his offer of a Protestant minister. But she opens her heart to Talbot in the duet “Quando di luce rosea,” confessing her sins and preparing to meet her maker.

The next morning, in the great hall of Fotheringhay, Mary’s friends pray with her. She forgives Elizabeth, encourages Leicester not to shed further blood by attempting to avenge her, and goes in strength to a martyr’s death.

The following historical figures are prominently mentioned in the opera:Anne Boleyn. Elizabeth’s mother. In order to wed her, Henry VIII broke with the Catholic Church and established the Church of England. Later, he claimed she was a witch, had her beheaded, and proclaimed Elizabeth illegitimate.

David Rizzio. An Italian musician and courtier to Mary Stuart in Scotland, assassinated by rivals including Mary’s second husband.

Henry Stuart, Lord Darnley. Mary Stuart’s second husband died in mysterious circumstances. Mary was accused of taking a lover who then assassinated Darnley.

Anthony Babington. A young Catholic Englishman who attempted to rescue Mary Stuart from house arrest and set her on Elizabeth’s throne. He failed; was hanged, drawn, and quartered; and Mary, who knew of his plot, was convicted of treason.

How much of Mary Stuart is true vs. fictionalized? What is bel canto opera and how is its music structured? Was Mary Stuart well-received when it premiered? Learn about the music and historical context of this opera in our in-depth, multimedia Spotlight Guide.

Have a Promo Code?

WAYS TO SAVE

Seattle Opera believes in opera for all. There are many ways to attend for less, including $25 tickets for every performance; up to 38% off with season ticket packages; special pricing for patrons age 21-39; and student, senior, military, teen, and group discounts.

Joyce Degenfelder’s association with Seattle Opera began in 1992 with The Ballad of Baby Doe. In 2003, Degenfelder made her Seattle Opera design debut with Parsifal, and ever since she has designed makeup and wigs for all of Seattle Opera’s productions. In addition to her work with Seattle Opera, she is also wig master for Seattle Repertory Theatre, Pacific Northwest Ballet, and ACT Theater. Her work has been seen around the country including Seattle Children’s Theatre, Intiman Theatre, Alaska Repertory Theatre, and Milwaukee Repertory Theatre.